€12- 


U^iW  ^t^f^f 


UNITED  STATES  MAIL. 


IN  ONE  SCENE. 


By  CHARLES  WHITE, 

Author  of"  Uncle  Eph's  Dream,"  "  Wake  up,  William  Henry,"!  etc.,  etc. 


TOGEXHEK  WITH 


A.  DESCEIPTION  OF  THE  COSTUMES—CAST  OP  THE  CHABACTERS— EN- 
TRANCES AND  EXITS— RELATIVE  POSITIONS  OP  THE  PERFORM- 
ERS ON  THE  STAGE,  AND  THE  WHOLE  OF  THE  STAGE 
BUSINESS. 


CHICAGO 

THE  DRAMATIC  PUBLISHING  COMPANY 


2 


UNITED  STATES  MAIL. 


CAST  OF  CHARACTERS. 

Post  Office  Sam,  a  negro  letter  carrier  Mr.  C.  White. 

Mr.  Wagner,  a  dashing  young  fellow  in  love  with  Lucy  Mr.  Warwick. 

Mrs.  Nipper,  a  housekeeper,  mother  of  Lucy  Mrs.  Barnett,  . 

Lucy,  a  girl  of  all  work,  in  love  with  Wagner  Rose  Meerifield. 


TIME  OF  PLAYING-THIRTY  MINUTES. 


SCENERY. 

A  plain  chamber.  Door  in  flat  c. ;  common  table  and  two  chairs  c. ;  carpet-bag 
on  table. 


COSTUMES. 

Post  Office  Sam.— Jockey  cap,  Yankee  trousers,  and  fancy  coat. 

Wagner.— White  pants,  with  red  patch  on  the  right  seat;  light-colored  Jress  coat, 

tail  on  right  side  basted  on;  white  vest,  gloves,  and  cane;  fancy  bat,  bosom, 

and  eye-glass. 
Lucy. — Plain  domestic  dress, 

Mrs.  Nipper.— Old  woman  in  reduced  circumstances.  , 


PROPERTIES. 

White  muslin  bag.  seven  feet  long;  bowl  of  flour;  table  and  two  chairs;  eight 
blank  letters;  one  carpet-bag,  any  old  things  in  it.  such  as  calicoes  or  towels,  pa. 
pers,  etc. 


STAGE  DIRECTIONS. 

R  means  Right  of  Stage,  facing  the  Audience;  L.  Left;  C,  Centre;  R.  C.  Right 
of  Centre-  L.  C.  Left  of  Centre;  D.  F.  Door  in  the  Flat,  or  Scene  runnmg  across 
the  back  of  the  Stage;  C.  D.  F.  Centre  Door  in  the  Flat;  R.  D.  F.  Right  I>oor  in  the 
Flat;  L.  D.  F.  Left  Door  in  the  Flat;  R.  D.  Right  Door;  L.  D.  Lett  Door;  1  E.  First 
Entrance;  2  E.  Second  Entrance;  U.  E.  Upper  Entrance;  1.  2  or  3  G.  First.  Second 
or  Third  Groove, 

R.  R.C.  C,  L.C. 

jj®-  The  reader  is  supposed  to  be  upon  the  stage  facing  the  audience. 


UIITED  STATES  MAIL. 


SCENE.— ^  27lai7i  chamber.    Door  in  flat  c. ;  common  table  and  two 
chairs  c. ;  carpet-bag  on  table.   Mes.  Nipper  discovered  at  table. 

Mrs.  Nipper.  There,  I  think  I  shall  go  to  the  store  and  get  me  some 
little  extras.  I  expect  company  this  evening,  and  I  have  scarcely  time 
now  to  fix  anything  for  the  table,  {clock  strikes  eight)  I  declare  it's  eight 
o'clock  already.  I  wonder  where  Lucy  is.  {calling)  Lucy  !  Lucy!  {seats 
herself  at  table  and  einpties  bag,  preparing  to  go  out.) 

Lucy  {ansivermgfrom  outside).  Yes,  mother  ;  yes,  mother,  coming. 

Enter  Lucy,  c.  d. 

Mrs  N.  Oh,  I'm  so  sorry  that  Mr.  Wagner  can't  be  with  us  this  even- 
ing, lie's  such  a  nice  lively  fellow. 

Lucy.  Oh,  yes,  mother,  he's  a  splendid  young  man,  and  he  promised 
to  write  me  and  inform  me  when  he  would  come  down.  But  even  if  he 
should  write,  there  is  no  knowing  when  a  body  would  get  the  letter,  as 
there  is  no  regularity  with  the  carriers  now  they  are  all  such  a  stupid  set 
of  black  apes. 

Mrs.  N.  Now,  Lucy,  go  down  stairs,  see  to  things,  and  mind  that  all 
is  prepared;  and  if  any  of  the  music  comes,  keep  them  playing  outside, 
as  it  will  prove  very  attractive,  and  make  people  talk  about  it. 

Lucy  {moving  about  lively).  Yes,  marm,  I'll  go  at  once,  and  {talking 

-  to  audience)  if  my  dear  Wagner  should  only  happen  to  come,  I  wouldn't 
I,  care  if  lUl  the  rest  of  the  company  would  starve  to  death,  {sings  a  sona) 

\-  Now  if  I  could  only  send  a  letter  to  mv  dear  Wagner,  and  get  an  an- 
swer m  tiine^.  I  am  sure  I  should  feel  a  great  deal  easier  than  I  do  now 
Ah,  me!  it  seems  strange  he  didn't  let  me  know  before  this,  and  here 
I  ve  l)een  waiting  and  waiting  this  live  long  dav,  anxiously  expectino-  a 
letter  However,  I  won't  give  up  yet,  for  who  knows  but  one  of  them 
Btunid  black  letter  carriers  might  appear  the  next  moment,  {seats  her- 
self  at  table,  sewing  and  singing.    Knocking  heard  outside. ) 

-  Post  Office  Sam  (o«^s^V^e).  Hallo,  hallo," there !  I  say,  missns,  open 
de  door-open  de  door.  '  ^ 

■     Lucy  {stopping  work  and  looking  at  door).  Who's  there  ^ 
w'     Sam.  It's  me   it's  me. 
^     Lucy.  Well,  who  is  me? 
^     Sam.  Why.  it's  me   de  Post  Office. 

^     Lucy.  I  wonder  who  it  is.    I'll  go  and  see.  {she  ojyens  door  andre- 

fj)  tires  to  L.  corner  of  stage,  not  noticing  Sam.) 

Sam  {entering).  I,  golly  !  what  a  nice  young  ladv. 


U.  C/  ill-  UB. 


4 


UNITED  STATES  MAIL. 


Lucy  {timiing  around  and  noticing  Sam).  Well,  sir,  what  do  you 
want? 

Sam.  I'se  got  a  letter  for  you,  missus, 

Lucy  {overjoyed),  A  letter  for  me  ? 
■    Sam.  Yes,  missus— yes,  indeed. 

Lucy  Oh,  thanks,  {aside)  From  my  dear  Wagner. 

Sam.  No,  missus,  I  didn't  bring  it  in  a  wagon. 

Lucy.  Well,  sir,  give  me  the  letter.  ,r  • 

Sam  (getting  doivn  on  his  knees  to  look  for  the  letter).  Yes,  missus  ; 
hold  on  till  I  find  'em.   I,  golly !  now  if  dat  ludy  couldn't  read,  wouldn  t 

^  LucY^ery  Impatient— aside).  Dear  me,  I  don't  believe  the  fellow 
can  'read,  {aloud)  Why,  sir,  you  are  opening  those  letters.  Don't  you 
know  you  have  no  right  to  do  that  ?  .       ,  v     ^  ^ 

Sam.  Oh,  yes,  missus— I  always  do  dat,  kase  dat's  de  way  I  get  do 

^^Lucy'  What  kept  you  so  long  ?   The  mails  can't  be  very  regular. 
Sam.  Yes,  missus,  de  mails  am  very  unregular.    Some  ob  em  stays 

^^LucY^^lear  me,  I'm  quite  out  of  patience.    Haven't  you  found  my 

^^^tlT{aside).  Well,  I  can't  tell  toder  from  which.  I'll  mix  'em  all  up 
too-eder  and  let  her  pick;  one  is  just  as  good  as  de  toder,  kase  dar  am  t 
noffin'  in  any  ob  'em.  {he  gets  up,  presents  whole  hundle-she  picks  one 
out.) 

Lucy.  This  is  my  letter,  you  stupid  goose.  , 
Sam.  I,  golly !  dat  was  bery  lucky  she  pick  out  de  right  one.    1  jes 
listen  and  see  what's  goin' on ;  ma'by  I  have  a  chance  to  make  some- 

^^^LvGY  {reads  letter,  Sam  listening).  "Dear  Lucy— You  may  expect 
me  under  your  window  this  evening  at  half  past  eleven,  with  a  party  ot 
friends,  to  give  you,  as  the  darkeys  say,  a  grand  salmanade." 

Sam  {aside).  Yes,  an'  I'll  be  dar  to  slam  'em  in  de  head  wid  a  large 
brick.  ,„  A  4r~ 

Lucy  (reads).  "  Lucy,  be  careful  and  wrap  yourself  up  warm,  and  not 
expose  your  delicate  form  to  the  rude  blasts  and  circumserucious  effects 
of  the  night  air.  Yours  in  haste,  Wagner."  {she  fold  up  letter,  places 
it  in  her  pocket  or  bosom,  and  turns  and  speaks  to  Sam)  Well,  sir,  you 
can  go. 

Sam.  Yes,  ma'm.    You  mean  go  out? 

Lucy.  Yes,  sir ;  right  out  the  way  you  came  in. 

Sam.  Yes— right  out  de  sam.e  door,  den  turn  and  

Lucy.  Yes,  sir— yes,  sir— that's  the  way. 
Sam.  Well,  I  ain't  going. 

Lucy.  What,  sir?  (Sam  holds  out  his  hand)  Vfhnt  do  you  mean  by 

^^SAM.'^Come,  come,  missus  ;  don't  be  so  ign'amous.  You  know  what 
I  mean.    I  want  de  i>ostage.  ..,.•« 

Lucy.  Oh !  ah,  yes,  the  postage.    How  much  is  it,  sir? 

Sam.  Free  shilling,  ma'm. 

Lucy.  La  me !  three  shillings  !   Why,  how  far  did  you  bring  it  ? 

T  AM-  Oh,  I  brought  it  furder  dan  dat. 

Lucy.  You  impudent  scoundrel,  I  shan't  pay  you  a  cent. 

Sam.  What !  you  want  to  rob  de  mail,  (noise  outside  representing  a 
hand  of  music  talking,  tuning,  etc.,  or  just  about  begi7ining  to  play. 
Sam  and  Lucy  in  great  fright  for  fear  of  being  discovered. ) 


UNITED  RTATES  MAIL. 


5 


T.ucY.  Dear  mo,  what  slinll  I  do?   Oli,  my  !  to  be  discovered  here 
nkh  this  horrid  black  man  !    I  sliall  be  ruined. 
ifrir/hiened),  \Vho'8  d'di,  missus 

Lucy.  That's  a  party  of  my  Mends,  and  if  they  catch  you  here  they 
will  murder  yon. 

Sam.  What,  murder  de  United  States  mail  ? 

Lucy.  Oh,  you  black  rascal,  why  didn't  you  go  out  when  I  told  you? 
Sam.  Kase,  missus,  I'se  like  a  candle— I  neber  go  out  till  I'm  put  out, 
i)low'd  cut,  or  burnt  out. 

Lucy.  Be  quiet,  you  l)lack  devil.    I  have  it. 

S\M.  Well,  I'm  ghid  ob  it— I've  waited  long  enough. 

Lucy  {hringinr/  a  long  iMe  hag).  Here,  you  ])lack  rascal,  get  in  this. 

Sam.  What's  dat? 

Lucy.  Whv,  that's  a  bag,  and  I  want  you  to  get  in  it. 
SaxM.  Me  get  in  dat  bag— wliat,  me?   I,  golly,  missus,  you  can't  bag 
me.   No,  no  ;  indeed  you  ain't  a-going  to  spoil  my  nice  clothes,  no  how, 
Lucy.  Now  do,  Mr.  Post  Office- do  let  me  persuade  you. 
Sam.  Missus,  I'll  get  in  dat  bag  on  one  'sideration. 
Lucy.  Well,  what's  that? 

Sam.  Why,  if  you  gib  me  something  to  eat  and  pays  me  de  postage  J 11 
get  in  de  bag. 
Lucy.  Very  well,  very  well— I'll  do  anything. 

Sam  {aside).  Now,  who  knows  but  I  might  make  something  by  dis. 
Bar's  one  thing  certain— if  I  do  get  in  dat  bag  I'll  have  a  chance  to  find 
out  who  her  beau  is.  Besides,  I'll  just  lay  my  cap  down  dar,  and  when 
he  comes  in  he'll  be  jealous  ob  course,  and  dat  will  make  a  muss  be- 
tween 'em.  {-/Wise  of  music  outside.) 

Lucy.  Come,  come,  sir,  hurry. 

Sam.  Hold  de  bag  open,  {she  holds  the  lag- he  tries  to  get  in.  She 
r/oes  to  the  door,  and  on  her  return  Jinds  he  is  not  in  the  bag.) 
■  Lucy.  Oh,  you  stupid  fool,  you  are  not  in  the  bag.  {she  takes  the  bag 
and  gives  him  a  push)  Here,  sir,  be  quick,  hurry.    Oh  dear,  {great 
scralMinq  with  the  baq—he  tries  to  get  in.) 

Sam.  Hold  de  bag  open,  missus.  Dar,  I  got  one  leg  in.  I  say,  missus, 
put  my  coat-tail  in.    Dar,  dat's  right. 

Lucy.  There,  now  remain  quiet,  that's  a  good  fellow,  {she  tries  to 
shove  his  head  down  in  the  bag,  and  he  ivorks  it  out  again,  which  busi- 
ness is  repeated  three  or  four  times)  There,  that  was  a  lucky  idea  of 
mine,  and  now,  if  he  remains  quiet,  all  will  be  right,  {miusic  plays  some 
tmltz  or  'polka  from  the  wing.) 

Enter  Wagner,  d.  f. 

Wagner.  There,  gentlemen,  that  will  do;  you  can  retire  now,  and 
I  will  settle  with  you  in  the  morning.  Ah,  my  dear  Lucy,  I  am  glad  to 
see  you.  ,  .  ,  , 

Lucy.  What  detained  you  so  long  ?    I  began  to  think  you  was  not 

coming.  ^  .    ^   p     •  i 

Wagner.  Well,  I  liad  some  little  business  with  a  friend  of  mine,  and 
talked  a  little  over  my  time.  But  why  didn't  you  open  the  door  on  my 
arrival  ? 

Ltjcy.  I  was  arranging  my  toilet. 
Wagner  {aside).  Toilet  ? 

Lucy  {aside).  Now  for  a  little  quarrel,  {aloud)  Look  here,  I've  got  a 
bone  to  pick  with  you. 

Wagner  {astonished).  A  bone  to  pick  with  me? 


0 


UNITKl)  STATES  MAIL. 


Lucy.  Yes,  a  bone  to  pick  with  you. 

Wagner.  Well,  I'm  glad  of  it,  I  feel  very  hungry.  Is  it  a  ham  bone, 
or  a  bone  of  a  tui'key  ? 

Lucy.  Oh,  you  need  not  joke  about  the  matter.  I  want  to  know  who 
that  lady  was  I  saw  you  promenading  with,  last  Friday  afternoon. 

Wagner.  Me — me,  Lucy? 

Lucy.  Yes,  sir — you. 

Wagnee.  What  day  was  it? 

Luov.  L;ist  Friday  afternoon. 

Wagnee,  Now,  Lucy,  I  know  you  must  be  mistaken,  for  last  Friday 
I  went  a-fishlng. 
Lucy.  I've  no  doubt  of  it,  sir. 

Wagner.  Look  here,  Lucy -since  it  comes  to  that,  I've  got  a  bone  to 
pick  with  you  too. 

Lucy,  Well,  sir,  wliat  have  you  got  to  say  about  me  ? 

Sam.  Dat's  right   gib  her  tits.    It  sarl)S  her  right  for  not  paying" 
for  de  letter.    I,  golly,  I  wouldn't  care  if  he  was  to  kill  her. 

Wagner.  I  should  like  you  to  inform  me  who  that  nice-lookinu-  tall 
gentleman  wafi  that  I  saw  you  get  out  of  an  onuiibus  with  yesterday  ; 
and  after  seeing  you  to  the  sidewalk,  you  took  his  arm  very  hundsome- 
ly  ;  then  you  l)Oth  strutted  gracefully  together  up  Broadway.  Ha,  ha! 
how  is  that  Lucy,  eh?  {aside)  I  think  that  will  settle  her  hash. 

Lucy.  You  mean  that  tall  gentleman  ? 

Wagner.  Yes,  I  mean  that  tall  gentleman. 

Sam  {aside,  raising  the  bag  as  high  as  possible).  Oh,  that  must  have 
been  me. 

Lucy.  Now,  dear  Wagner,  don't  be  angry,  and  I'll  tell  you  the  truth. 

Wagner  {in  a  -pretended  passion).  Well,  then,  out  with  it,  for  I  want 
to  know  my  rival. 

Lucy.  That  was  Mr.  Banks,  my  French  dancing-master. 

Wagner.  Mr.  Banks,  eh?  -your  French  dancing-master — hem! 

Sam  {aside).  He'll  get  Banks    down  de  banks,  I  tink. 

Wagner,  Yom^  French  dancing-master,  was  it?  Then  you've  been 
practicinii;  dancing,  have  you? 

Lucy.  Oli,  yes  ;  and  I'm  improving  remarkably. 

Wagnee,  Well,  Lucy,  I  should  like  you  to  show  me  some  steps  in 
dancing,  as  I  am  quite  a  novice  in  that  fashionable  exercise. 

Lucy.  Well,  I  have  no  objection.  What  style  of  dancing  do  j^ou  most 
admire. 

Wagner.  Do  you  know  anything  about  the  schottishe,  fancy  style, 
or  kauchowker  ? 

Sam.  My  gracious,  he  wants  her  to  dance  till  it  chokes  her. 

Lucy.  Oh,  yes.  I  can  dance  most  anything  in  that  line. 

Wagner.  Well,  I  ain't  particular— "most  anything  will  suit.  (Lucy 
dances — orchestra  plays  the  trial  dance  in  "La  Bayadere,"  tlie  first 
part  twice  over. ) 

Wagner  {stops  her  by  calling  aloud).  Hold  up  !  hold  up  !  That  kind 
of  dancin<>:  don't  exactly  suit  my  taste.  I  admire  something  in  the  Old 
Vir^2;inia  line. 

Sam  {aside).  I  hope  dey  won't  play  dat;  kase  if  dey  does,  I  neber  can 
keep  still,  and  dat  will  spoil  eberyting. 
Lucy.  Well,  I  can  dance  that  too.  ^ 

Orchestra  plays  a  negro  jig  or  reel.  Wagner  looks  on  delighted 
through  a  quizzing-glass.  Sam  begins  to  dance  in  the  bag.  Wag- 
ner startled  at  this  affair.  Lucy  pretending  to  be  amazed.  Sam 
trembles  i)i  the  bag. 


UNITED  STATES  MAIL, 


7 


Wagner  {enraged).  Wlial's  that,  Lucy— what's  that? 
Lucy  {confounded  and  stammering).  Th—th—th—tha— that's  a  bag 
of  taters,  my  dear. 

Wagner  {seeming  to  know  the  joke).  A  what?— what  did  you  say? 
Lucy.  A  bag  of  taters. 

Wagnek  {approacJies  the  hag  on  tiptoe,  and  lays  both  hand  on  top). 
A  bag  of  taters !  I  say,  Lucy,  if  you  call  this  a  bag  of  taters,  I'll  be 
haug-ed  if  that  ain't  the  biggest  tater  I  ever  saw.  It's  no  matter,  tliough : 
go  on  with  the  dance,  ril  keep  my  eye  on  the  tulers.  (Lucy  dances  the 
same  tune  again.    Sam  dances  as  before.) 

Wagner  (cr/e.9«/o?^(i).  Stop!  stop!  Holdup!  hohlup!  I  say.  Now, 
look  liere,  Lucy — I  have  no  objection  to  your  dancing,  and  ha,ve  no  ob- 
jection to  dancing  with  you;  but  I  don't  want  that  confounded  bag  of 
taters  to  join  in  the  cliorus.  {he  goes  to  bag  and  tarns  it  topsy-turvy— 
Lucy  entreats  him  to  withhold,  but  all  to  no  effect)  I'll  just  see  if  I  can't 
peel  these  taters.  {he  takes  hold  of  the  bag  by  the  feet  and  tries  to  get 
it  off-.) 

Post  Office  Sam  discovered.    Picture — all  three. 

Wagner.  Lucv,  this  must  be  a  Carolina  potato. 

Sam.  I'm  a  damaged  tater.  {bus.)  Pull  it  off— pull  it  off.  Here's  a 
nice  mess  for  de  Post  Office.  (Wagner  pulls  off  bag  and  keeps  it)  De 
mail's  upset,  ah  !  ah  !  Dey  seen  who  I  was,  an'  got  skeered.  Now,  let 
me  see,  {looking  at  watch)  I've  just  got  time  to  'liver  dem  oder  letters. 
But  afore  I  go  I'll  jes'  liide  away,  an'  den  when  dey  go  away  I'll  steal  all 
de  spoons,  an' dat  will  jes'  pay  me  for  de  postage  an' de  trouble,  (gets 
up  on  tiptoe— discovers  Wagner,  who  throws  the  bag  at  him.  Sham 
fight.    Finally  they  shake  hands  in  the  midst  of  the  bustle.) 

Wagner.  Who  are  you? 

Sam.  Who  is  you  ? 

Wagner.  I'm— I'm  

Sam.  So  be  L 

Wagner.  What's  your  name? 

Sam.  My  name  is  

Wagner.  Come,  sir,  out  with  it. 

Sam.  No,  sir,  dat  ain't  my  name. 

Wagner.  Well,  wdiat  the\levil  do  you  want  here? 

Sam.  What  de  debil  does  you  want  liere? 

Lucy.  Now  don't  be  angry,  my  dear,  and  I'll  explain  it  all, 

Sam  (aside).  I,  golly,  I'se  got  de  bag,  an'  Pse  gwine  to  keep  it.  Now, 
if  I  could  only  get  out  ob  de  liouse  wid  it.  (rolls  up  the  bag  and  stuffs 
it  up  the  back  of  his  coot.) 

Lucy.  You  see.  according  to  your  letter,  you  promised  to  give  me  a, 
nice  serenade.  Well,  tliis  fellow  delivered  me  the  letter,  and  as  I  had 
noch  ngeto  pay  the  ])ostage,  lie  refused  to  leave  the  house.  Conse- 
quently, hearing"the  company  at  the  door,  I  thought  myself  in  rather  a 
Iieculiar  predicament,  and  was  so  confused  that  I  hardly  knew  what  to 
do  ;  and  to  save  all  further  troul)le,  I  insisted  on  his  getting  into  that 
bag,  and  remaining  perfectly  quiet  until  a  good  opportunity  offered  for 
his  escape. 

Sam.  Dat's  a  fac',  massa— dat's  a  fac'. 

Wagner.  Well,  Lucv,  I  believe  you  ;  and  since  the  thing  is  so  clearly 
explained,  I'll  forget  it  all.  T  say.  you  black  devil,  there's  my  hand, 
{they  shake  hands.) 

Sam.  Oh,  yes,  I  handle  moi'o  dirt  dnn  dat  ebery  day. 

Wagner,  What  do  you  mean  by  th-at,  sir,  eh?  • 


UNITED  STATES  MAIL. 


8 


feAM.  Oh,  nuffm',  imffiii'.  ,     n  o 

Wagner.  I  sav,  what's  that  large  lump  on  your  shoulder,  there 
Sam.  Don't— don't— don't  trouble  dat. 
Lucy.  La,  me,  what  is  it? 

Sam.  Why,  dat's  a  corn.  ■       ^      ,  . 

Lucy  and  Wagner  {both  astonished).  My  gracious !  what  a  place  lor 

^  Wagner.  Look  here.  Lucy— suppose  we  make  it  all  right  again  and 
have  a  little  dance  just  to  ourselves,  right  here,  before  we  admit  the 
company.  What  sny  you,  eh  ?— and  you,  you  picture  of  ebony,  wouldn  t 
you  like  to  dance  too? 

Sam.  Oh,  yes,  I'll  dance  if  missus  dar  will  dance  wid  me  fust.  (Llcy 
hows  co7isent.) 

All  arrange  to  dance  a  straight  reel-  all  reel  off,  and  in  beginning  to 
dance  Lucy  turns  and  dances  to  Wagner.  Sam  puts  his  head  vn 
between  them  to  ask  an  explanatio7i,  -when  Wagner  imshes  him 
awau  Sam  pantomimes  vengeance,  and  goes  to  the  table,  gets  a 
handful  ofjlour,  throws  it  in  the  face  o/Lucy,  who  screams  and 
faints.  Wagner  tries  to  save  her  from  falling-she  backs  iqi  the 
staqe  holding  on  to  Wagner's  collar.  Wagner's  back  is  to  the 
audience-^AM  seizes  him  by  the  coat-tails  ayid  jerks  one  off,  which 
discovers  a  large  peculiar  red  patch.  Sam  laughs  heartily,  point- 
ing at  the  same  time  at  Wagner,  tcho  is  in  a  great  flurry  with 

Lucy,  etc.  ^  ^ 

CURTAIN. 


EXPLANATION  OF  THE  STAGE  DIRECTIONS. 

The  Actor  is  supposed  to  face  the  Audience. 


D.  R.  C. 


C.  D. 


K.  U.  E. 


SCENE. 


K.  3  E. 


K.  3  E. 


/ 


B.  1  E. 


/ 


/ 


E.  U.  E. 


\ 


L.  3  E. 


\ 


L.  2  E. 


L,  1 


B.  C.  C.  C. 

AUDIENCE. 


c.  Centre. 

B.  Right. 

B.  c.    Righ.t  Centre, 

B.  1  E.  Right  First  Entrance. 

B.  2  E.  Right  Second  Entrance. 

B  3e.  Right  Third  Entrance. 

B.  u.  E.  Right  Upper  Entrance. 

p.  B.  c.  Door  Right  Centre. 


L.  Left. 

L.  c.     Left  Centre. 

L.  1  E.  Left  First  Entrance. 

L  2  E.  Left  Second  Entrance. 

L  3  E.  Left  Third  Entrance. 

L.  u.  E.  Left  Upper  Entrance. 

c.  D.     Centre  Door. 

D.  L.  c.  Door  Left  Centre. 


HAQEMAN^S  MAKE-UP  BOOK 


ByMAUklCB  HAQEMAN. 

Author  of  "What  Became  of  Parker,*" 'Prof.  RobiESon,**  ••Hector,"  **Mb» 
Mulcahy,**  "The  First  Kiss/'  "By  Telephone,'*  "To  Bent/*  etc 

Price.  2S  cents. 

The  Importance  of  an  effective  make-up  is  becoming  more  apparent  to 

the  professional  actor  every  year,  but  hitherto  there  has  been  no  book  on  the 
subject  describing  the  modern  methods  and  at  the  same  time  covering  all 
branches  of  the  art.  This  want  has  now  been  filled.  Mr.  Hageman  has  had 
an  experience  of  twenty  years  as  actor  and  stage-manager,and  his  well-known 
literaryability  has  enabled  him  to  put  the  knowledge  so  gained  into  shape 
to  be  of  use  to  others.  The  book  is  an  encyclopaedia  of  the  art  of  making  up. 
Every  branch  of  the  subject  is  exhaustively  treated,  and  few  questions  can 
be  asked  by  professional  or  amateur  that  cannot  1:«  answered  by  this  admira* 
ble  hand-book.  It  is  not  only  the  best  make-up  book  ever  published,  hut  it 
Is  not  likely  to  be  superseded  by  any  other.  It  is  absolutely  Indlspensabl* 
to  evexy  ambitious  actor. 

CONTENTS. 

Chapter  I.  General  Remarks. 

Chapter  II.    Orease°Paints,  their  origin,  components  and  use. 

Chapter  III.  The  Make-up  Box.  Grease-Pnints,  Mirrors,  Face  Powder  and 
Puff,  Exora  Cream,  Rouge,  Liquid  Color,  Grenadine,  Blue  for  the  Eyelids, 
Brilliantine  for  the  Hair,  Nose  Putty,  Wig  Paste,  Mascaro,  Crape  Hair, 
Spirit  Gum,  Scissors,  Artists'  Stomps,  Cold  Cream,  Cocoa  Butter,  Recipes  for 
Cold  Cream. 

Chapter  lY.  Preliminaries  before  Making  up;  ttie  Straigfit  Make-up 
and  how  to  remove  it. 

Chapter  V.  Remarks  to  Ladies.  Liquid  Creams,  Rouge,  Lips,  Eyebrows, 
Eyelashes,  Character  Roles,  Jewelry.  Removing  Make-up. 

Chapter  VI.  Juveniles.  Straight  Juvenile  Make-up,  Society  Men, 
Young  Men  in  HI  Health,  with  Red  Wigs,  Rococo  Make-up,  Hands,  Wrists, 
Cheeks,  etc. 

Chapter  YII.  Adults,  Middle  Aged,  and  Old  Men.  Ordinary  Type  ot 
Manhood,  Lining  Colors,  Wrinkles,  Rouge,  Sickly  and  Healthy  Old  Ag«^ 
Ruddy  Complexions. 

Chapter  VIII.     Comedy  and  Character  Make»ups.     Comedy  Effects, 

Wigs,  Beards,  Eyebrows,  Noses,  Lips,  Pallor  of  Death. 

Chapter  IX.  The  Human  Features.  The  Mouth  and  Lips,  the  Eyes  and 
Eyelids,  the  Nose,  the  Chin,  the  Ear,  the  Teeth. 

Chapter  X.  Other  Exposed  Parts  of  the  Human  Anatomy. 

Chapter  XI.  Wigs,  Beards,  Moustaches,  and  Eyebrows.  Choosing 
a  Wig,  Powdering  the  Hair,  Dimensions  for  Wigs,  Wig  Bands,  Bald  Wigs, 
Ladies'  Wigs,  Beards  on  Wire,  on  Gauze,  Crape  Hair,  Wool,  Beards  for 
Tramps,  Moustaches,  Eyebrows.  <- 

Chapter  XII.  Distinctive  and  Traditional  Characteristics.  North 
American  Indians,  New  England  Farmers,  Hoosiers,  Southerners,  Politicians. 
Cowboys,  Miners,  Quakers,  Tramps,  Creoles,  Mulatoes,  Quadroons,  Octo- 
roons, Negroes,  Soldiers  during  War,  Soldiers  during  Peace,  Scouts,  Path- 
finders, Puritans,  Early  Dutch  Settlers,  Englishmen,  Scotchmen,  Irishmen, 
Frenchmen,  Italians,  Spaniards,  Portuguese,  South  Americans,  Scandina* 
vlans,  Germans,  Hollanders,  Hungarians,  Gipsies,  Russians,  Turks,  Arabs. 
Moors,  Caffirs,  Abyssinians,  Hindoos,  Malays,  Chinese,  Japanese,  Clowns  ana 
Statuary,  Hebrews,  Drunkards,  Lunatics,  Idiots,  Misers,  Rogues. 

Address  Orders  to 

THE  DRAMATIC  PUBLISHINQ  COMPANY, 

CHICAQO.  ILLINOIS. 


PLAYS. 


BEING  the  largest  theatrical  booksellers  in 
the  United  States,  we  keep  in  stock  the  most 
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We  can  supply  any  play  or  book  pub- 
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of  the  best  1500  plays  and  entertainment  books 
published  in  the  U.  S.  and  England.  It  con- 
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The  plays  described  are  suitable  for  am- 
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The  Dramatic  Publishing  Company^ 

CHICAGO, 


II 


